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Amongst the box office muscle (making it the third-highest domestic and global grosser of all time, just behind Avatar and Titanic), The Avengers Age of Ultron is hardly considered the most precious gem in the Marvel Cinematic Universe due to its snappy banter between caped crusaders rather than for its exceptional, battling action set pieces (one on a state-of-art aircraft and the other on the streets of Manhattan), which seemed sloppily stitched together by Whedon and his crew.
Avengers Age of Ultron movie seriously lack of intimacy, character-building moments that had distinguished Iron Man and Captain America series from other superhero movies. However, the film did have two aces up its sleeves: infamous Loki of Tom Hiddleston and the existentially conflicted Dr. Bruce/Hulk of Mark Rufflalo.
Let’s check fight scene of HULK and HULKBUSTER:
Before all that, this second chapter brings us to the wintry republic of Sokovia, where Captain America (Chris Evans) and the gang raid the Hydra base to achieve Loki’s septer from Baron Wolfgang von Strucker (Thomas Kretschmann). The crew first meet two new, genetically altered foes: the twins Quicksilver (Aaron Taylor-Johnson) and Scarlet Witch (Elizabeth Olsen), one with blinding speed and the other with paranormal psychic powers, including the ability to inflict others with realistic and terrifying waking dreams made of their deepest fears. These nifty illusions help Whedon to flex his visual imagination in ways that the first Avengers never hinted at. But there is a greater threat for the Avengers hiding in plain sight, Ultron. It was originally a kind of ghost in the Stark Industries machine: an AI (artificially intelligent) designed to serve as “a suit of armor around the world”.
As such brainchildren usually do in the annals of science fiction where man routinely suffers for playing God, Ultron enters sentience with some major daddy issues and the characteristics of a hormonal adolescent, ready to bite off the hand that fed him and then some. When Ultron first appeared the Avengers comics (1968), he was a Frankenstein-like creation. But when debuting on the big screen, Whedon has made him a kind of power-mad Pinocchio who doesn’t need help from a fairy godmother to lance his strings, assemble a makeshift suit of Stark Industries armor and raise a robotic army.
Avengers Age of Ultron movie’s visual-effects crew have a grand old time with Ultron’s herky-jerky movements, but Jamess Spader has given voice to the machine-man’s self-aggrandizing sentiments – a diabolical purr that sounds similar to HAL 9000 reborn as a Vegas lounge lizard.
Certainly, Ultron wants to become a real person, and well, turn Sokovia into a meteorite to be hurled back at the Earth. But even as billions of lives hang in the balance, “Age of Ultron” takes time out to show us what our Avengers do when they are not busy avenging. Banner and Black Widow (Scarlett Johansson) spark a nicely hesitant romance that become the tender core of the movie and also reveal the personal life of Hawkeye (Jeremy Renner), not to mention that they frequently reminds us that, while sticks and stones may scarcely harm these Marvel mainstays, their psyches have suffered their fair share of heavy blows.
When the film returns to its symphony-of-destruction mode, it stays engaging precisely because Whedon has given us reasons to care about the whirring, smashing, booming and crashing. It helps that the actors by now wear these roles as comfortably as second skins — an enviable model that those forthcoming superhero alliances, Fantastic Four and Justice League can only hope to follow. Although Whedon still lack of gifted image-making of his role model, Steven Spielberg, he managed to keep the movie’s heavy machinery in constant, fluid motion whereas branded, big-studio entertainment in 2015 could be doing much worse. Unlike its title character – Ultron, Avengers Age of Ultron movie most definitely has soul.
For the first time working with British d.p. Ben Davis (Guardians of the Galaxy), Whedon claims the film is more cinematic than the prior installment with some complex tracking shots which last for upwards of a whole minute. Dueling composers Brian Tyler and Danny Elfman have provided a large number of speaker-rattling action music, despite the most memorable passages remain those recycled pieces of Alan Silvestri’s brassy Avengers fanfare in Avengers Age of Ultron.
Here some credits you must watch again: